Giacomo Francesco Cipper / Il Todeschini, Figurative Scene, Oil on Canvas

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Oil on canvas.The painting is accompanied by the expertise of the art historian Dr. Giuseppe Sava.The protagonist of the open-air … Read more Oil on canvas.The painting is accompanied by the expertise of the art historian Dr. Giuseppe Sava.The protagonist of the open-air market scene is a cherry seller, who wears a showy straw hat and sits next to a basket of these fruits placed on a wooden bench, next to a stone on which the steelyard rests. with her smiling, almost winking gaze turned towards the viewer, she is accepting the advances of the man who, behind her, is placing a hand on her shoulder, with a lascivious look, while two players on the left improvise a concert. The group composite and cheerful, it refers to the production of Giacomo Francesco Cipper, known as Todeschini (1664 -1736), a painter of Austrian origins but Lombard in terms of training and pictorial style, who was a 'singer of farmers, street vendors intent on their daily occupations or entertainment', a specialist in market scenes, open-air concerts, card players, scenes of humble daily life created with laughing caricatural forcing and a search for comic effect Cipper drew this narrative style from the Danish painter called Monsù Bernardo, active for a long time in Italy between Bergamo and Milan: in particular, from him came the predilection for everyday stories and characters humble, as well as the impertinent nature of these characters, who seek the attention of the observer through a gaze fixed on him. Also in this painting the protagonist woman fixes her mischievous gaze on the observer, smiling with complicity and irony of the courtship game in which the three men make her the protagonist, implying a 'market' that is no longer just that of cherries. In his expertise Dr. Sava underlines the stylistic and typological relationships of this painting with other characters from Cipper, to support the attribution; the stylistic evolution in the formal and technical aspects of his works is also explained - the colors that lighten, with an evident predilection for ocher, hazelnut, sage green, among which powder blue insinuates itself; the milky backdrops, the more suffused brightness and the less plastic chiaroscuro, an evolution that allows us to place the work in his production from the early 18th century. The painting has been restored and relined. It is presented in an adapted antique frame. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



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